cdreviews
BIRDMAN & LIL WAYNE LIKE FATHER, LIKE SON Cash Money/Universal
C-MURDER THE TRU STORY...CONTINUED Koch
SLEEPY BROWN MR. BROWN Purple Ribbon/Virgin Records
In a perfect world, one without money disputes and controversial contracts, Like Father, Like Son would probably be a fourth Hot Boy$ album. But with Turk’s legal issues, Juvenile and B.G. pursing their solo careers elsewhere and Mannie Fresh achieving independent success, Lil Wayne and Baby are forced to hold down the Cash Money fort. Not that they mind. With Wayne vying for the title of Dopest Lyricist not only in the South, but rap period, and the addition of extremely talented Suave House alum T-Mixx on production, the album more than adequately establishes the next chapter for Cash Money.
C-Murder’s latest album, The Tru Story…Continued, isn’t the worst thing out, but it’s definitely light years away from being the best. Most of the album’s material comes from his 2005 album, The Truest Shit I Ever Said. Now the album gets a much needed boost thanks to the six new tracks and a DVD that contains exclusive interview and video footage. One could only assume that Tru Story is the New Orleans’ rapper’s attempt to set the story straight about murder charge he was hit with following the 2002 murder of a 16-year-old teen. Sadly, however, C-Murder spends the majority of the album’s 23 tracks spinning tales about exactly how cold and ruthless he is.
As the founder of Organized Noise (Outkast, TLC, Goodie MOB, En Vogue, Ludacris), the son of an original member of the seventies funk band, Brick, and the leader of the underground soul groups, Society of Soul and Sleepy’s Theme, the expectations for Sleepy’s solo debut were high. Thankfully, he doesn’t let anyone down.
The lead single, “Stuntin’ Like My Daddy” sets the tone for the entire album conceptually - getting, making, keeping and showing off money. With Birdman playing the role of the veteran father and Weezy F. Baby assuming that of the son who’s expected to not only carry on, but exceed the example set by his daddy, the album works despite its linear focus. On “1st Key” featuring a flawless incorporation of the UGK classic, “Pocket Full of Stones,” the production is undeniable, as it is on the self-explanatory title track where Wayne explains, “Birdman put me on when I was 11 / He was my father, so I was like fuck the lesson / He was my preacher, so I was like fuck the reverend.” Further showing why he’s Andre 3000’s favorite rapper on the neck-snapping “You Ain’t Know,” Weezy spits, “Baby and Slim still point guard and center / So much money on my mind it’s all I remember.” He doesn’t lose a beat on “Ain’t Worried Bout Shit” where he waxes poetic about grinding or on the melancholy “Don’t Die,” where he borrows from a Jadakiss line and contends that “gangsta’s don’t die, they get chubby and move to Miami” over mellow guitars. The primary downfall of Like Father, Like Son is that lyrically speaking, the “son” is far more superior to the “father” and Baby struggles to hold his own throughout the project, despite his nearly immaculate braggadocio. Thankfully he (and his fans) understands that he’s not expected to rap, only stunt; turning this somewhat mismatched collaboration into a solid album worthy of more than a few spins. - Jacinta Howard 104
Most of the album’s new additions save this album from being a total disaster. However, these songs are also where C-Murder delivers what could possibly be the most damaging testimony of all against himself. Songs like “I Live in the Ghetto” and “Calliope” serve as reminders to possible foes that he’s a product of his violent environment. Perhaps the most damaging song new addition to the album is “I’m That Villain.” In the first verse alone, the rapper warns partygoers not to get too close to his expensive threads because “I’m full of that Tanqueray / Somebody ‘bout to die today.” He then goes on to boast about his happy trigger finger before warning his enemy that he has no problem with “busting back.” The album isn’t all about guns and violence, though. The rapper tries to tap into his sensitive side with “Did U Hold It Down” featuring Bass Heavy. Even though lines like “I can’t wait to pick your cherries and strawberries” are laughable, the sentiment aimed at the special lady in his life is still sweet, nonetheless. Guest appearances are where this album shines brightest. “I Want It” featuring M.O.P.’s Lil Fame, “Die for Mine” featuring B.G. and “Camouflage & Murder” featuring Mac and Curren$y are easily some of Tru Story’s highlights. They also happen to be songs in which C-Murder is easily outshined by his guests. Although he does his best to maintain himself alongside Lil Fame, C-Murder’s fighting a losing battle as his lazy, grade-school-level flow gets lost behind Fame’s signature hyperactive flow. Even fellow New Orleanian B.G. shows up and shows out on “Die for Mine,” a reworked version of “Y’all Heard of Me,” which shows up later on the tracklisting. Fans of C-Murder will probably be more than happy to bump Tru Story…Continued in support of the rapper. However, rap fans that are checking more for lyrical content than a couple of dope beats may want to stay away from this one. Hopefully for his sake, the prosecutors of his murder trial will stay away from this album as well or else C-Murder may find himself paying dearly for the life he rhymes about. - Ivory M. Jones
The production on this project is a more universal than his previous works, as evidenced on the lead single, “Margarita,” featuring longtime friend and collaborator Big Boi as well as Pharrell. Even still, he manages to display his funky creativity and lyricism throughout the album without leaving listeners behind, weaving in melodic tales of heated sexual escapades (“Oh Ho Hum”) with dance-inspired grooves (“One of Dem Nights”). Sleepy’s biggest asset has always been his ability to merge the old with the new without sounding contrived. Shaped by strong horns, deep bass lines and snappy synths, “Dance With Me” and “Sunday Morning” are among the tracks where he’s able to merge old-school vocal stylings with hip-hop undertones. Though he takes a wrong turn on the 50’s doo-wop-like “Get To It,” which sounds a little forced and tends to drag, he gets right back to doing what he does best on the fashionable, upbeat songs, “Dress Up” and the fan-favorite, “I Can’t Wait” featuring Outkast. When he smoothly croons, “Just tell me the secrets in your head as I get into you…” on what is perhaps the album’s best song, “Till (Your Legs Start Shaking),” he seamlessly turns what could easily be raunchy lyrics into a honey-dripped declaration of desire.
Mr. Brown not only firmly establishes Sleepy as more than “that dude who sings Outkast’s hooks,” but is easily one of the best soul releases of the year. - Jacinta Howard